an introduction to this series

I first started working on the Mansect series in the early 1970's. This new series was a natural progression from several other series that immediately preceeded this group.

I guess the first prelude started with the creation of a Bestiary Series which consisted of dragons, serpents and other fantastic creatures.  These early figures came about after I was making the transition from woodcarving, to working almost exclusively in metal by the mid 1960's.

Around the end of the '60's, my work evolved into another exploratory direction, culminating in a series of Abstract Hybrids.  This body of work I knew was a transitional stage, leading to what, I didn't quite know at the time.  After completing the final figures of this group, a new concept dawned upon me and that turned out to be the Mansect Series.

For the sake of brevity I'll skip over the ideas and concepts that fully engaged my interest for years afterwards.  This work was never completed in it's entirety, since I had invisioned about twenty five figures, each expressing one special aspect of the whole idea.  I failed in my efforts to obtain a grant, which would  have been needed to cover the expense for a large self contained structure.  A portable site, actually, for what  was to be an installation work upon completion.

The Mansect Series were shown as a gallery group instead at the Smithsonian Renwick Gallery then later one more was exhibited.  In 1977, author Dona Meilach published a book, "Decorative And Sculptural Ironwork" which became an important survey of forged ironwork currently being done in the U.S. at that time. The Mansects were profusely illustrated in that publication. (note: this book has been reprinted in 1999. Decorative & Sculptural  Ironwork 2nd ed., by Dona Meilach, published by Shiffer Publishing Ltd., ISBN: 0-7643-0790-8)  Two other books scheduled for the year 2000.

When the commission work that I normally do for my livelihood declined during a recession, I then had to succomb to the pressures of supporting my family.  Collectors began to acquire individual pieces from this series which disturbed the continuity of the work.  After breaking up the set, I then moved on to other work but have never abandoned my interest in these creatures, which are so special to me.

To this day, they occasionally reappear in my work, especially within the long term work now in progress, known as the Quadreverz Series.